A Pastor Appreciates the Hymns: Benedictions and Farewells

By Joe LaGuardia

A Pastor Appreciates the Hymns is a series on hymnody and worship in the church.  By incorporating personal testimony and theological reflection, the series draws meaning and strength from sacred songs past and present.  This article concludes the series.

Benedictions are important in every Order of Worship.  Whether tied to a traditional or contemporary service, the last words that a pastor or music leader says to her congregation or the final words that a congregation sings together is often remembered long after the words of the sermon fades.

For some pastors, the benediction is a blessing–a final word echoing the blessings of the Bible like those from St. Paul for the churches to whom he wrote, or the one that God commanded Moses to say to the people of Israel:

The Lord bless you and keep you;
The Lord make his face to shine upon you and be gracious to you…
And give you peace” (Numbers 6:22-27).

For others, the benediction is a charge or commission to empower people for the week ahead.  Reminiscent of the Lord’s “Great Commission” in his blessing to the disciples in Matthew 28, this type of benediction serves to inspire confidence that God is active in the world.  It is a final reminder that the real work of the church happens beyond the church campus where people spend a majority of their time.

For many of us pastors, the benediction is a little bit of both: We bless our churches with a word of peace, but we also encourage each parishioner to see that they too are agents of blessing and peace for others.  We hope that in blessing and charging our congregation, people will live for Christ, represent Christ, and put faith into action–that they may live the Gospel, not merely believe in it.

Benedictions are often coupled with benediction hymns.  One such hymn is a classic in Baptist life- Blest Be the Tie That Binds.  I guess it is a Baptist classic precisely because a Baptist minister wrote it.

In the mid-1700s, John Fawcett served a poor congregation in Wainsgate, England.  He was offered a job at a larger, more affluent church but was grieved to leave Wainsgate.  He declined the offer and, instead, stayed with that little church until his death in 1811.

Legend has it that it was in the throes of indecision and anxiety over leaving Wainsgate Baptist that Reverend Fawcett wrote this brief hymn.  It expresses charity and unity of the Body of Christ, the power of prayer and intercession, of mutual encouragement — even unto “sympathizing” tears — and includes the hope that believers will come together whether in this life or the next.

The song balances the longing we have of sharing time with our church family, as well as the call to bear the burdens of others in the world.  All of this, of course, is to take place in the posture of blessing and “kindred minds,” a clarion call for any benediction hymn worth its salt.

Another favorite benediction hymn is the concise “Christian goodbye”* hymn, God Be With You, by Congregational pastor Jeremiah Rankin.  The song was first sung in Washington D.C., making it a perfect chorus to conclude worship, as well as a treasure born in the heart of a nation still healing from Civil War.

The words speak of Old Testament images of a Shepherd-God who provides, secures, protects, and guides.  It is a perfect addendum to Psalm 23 or the Exodus story, in which the provision of God’s promises and blessings to Israel take center stage.

A last type of benediction hymn is that which challenges and commissions.  A contemporary hymn by Ken Medema, penned in 2003, Let Truth and Mercy Find Here*, charges the church with putting feet to faith.  It is not enough for people to meet at church–they must transform that time of fellowship into friendship and push the bounds of justice beyond brick and mortar.

The last verse is particularly challenging:

So now let peace and justice be never far apart,
but flowing like a river for every thirsty heart.
These two shall be united, a mighty moving stream,
Upon whose bands we gather to work and pray and dream.

Set to the tune of AURELIA, the words may be foreign but the tune familiar.

That is what benedictions are, after all–familiar.  They are the earworms that stick with people, the melodies that carry us into a new week, and the words that ring over and over again for a people who are defined not always by their diversity, but their unity in spite of it.

 

*William Reynolds, Companion to Baptist Hymnal (Nashville: Broadman Press, 1976): 72.
*Let Truth and Mercy Find Here
is hymn # 692 in the Celebrating Grace hymnal published by Celebrating Grace, Inc., Macon, GA.

 

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A Pastor Appreciates the Hymns: Songs of Christmas, Part 2

By Joe LaGuardia

A Pastor Appreciates the Hymns is a series on hymnody and worship in the church.  By incorporating personal testimony and theological reflection, the series draws meaning and strength from sacred songs past and present.

So the shepherds went with haste and found Mary and Joseph, and the child lying in the manger.  When they saw this, they made known what had been told them about this child, and all who heard it were amazed” (Luke 2:16-18).

Christmas is a magical time of year.  Many people decorate with lights and greenery.  Ugly seasonal sweaters are common and unashamedly adorned, and the smell of hot chocolate and peppermint fill the air.  There is something communal about the season, and even Black Friday–which stands a week before Advent–has a charm to it as people begin their gift collecting.

Yet, the hustle and bustle of Christmas can be overwhelming and distracting.  Just as Christmas gifts collect under Christmas trees, crowding the porcelain nativity and keeping it from view, so too our shopping and cooking rituals–and all the Christmas parties!–can get in our way of remembering the reason for the season.  It does not take store clerks and coffee cups to remind us to put “Christ” back in Christmas–we need to do it for ourselves: Don’t worry about putting Christ back in “Christmas”; we should be focused on putting Christ back in “Christian.”

Lessons and carols that we hear and sing during this time draw our attention back to Jesus.  In fact, very many of the most beloved hymns of the church are those that we sing at Christmas time.  For some of us, that means rushing to church on Christmas Eve–(for others, its the only time to go to church–a travesty, by the way!)–to sing our favorite carols such as It Came Upon a Midnight Clear and Silent Night, Holy Night.

Even then, the more we sing these songs over the years, the more they seem to lose their meaning.  (Some songs have words that lost their meaning ages ago: Take The First Nowell, for instance — we have no idea what a “nowell” is!)

We need to take a second look at these hymns too.  A deeper look reveals the rich theological tradition that accompanies Christmas, the many reasons why we should be at church and put Christ back in focus.  This theology is more than the stuff of a greeting to the grocer or a pithy poem on a Hallmark card, it makes up the difference between a life short-lived and an eternal life well-lived in which God embraces us in the person of Jesus our Lord and Savior.

It Came Upon a Midnight Clear is one of my personal favorites.  It is a perfect song to sing in the solemn shadows of a sanctuary on Christmas Eve, an expression that peace comes with the coming Prince of Peace to a world that toils with fragile haste.

This song has everything you might expect in a Christmas carol: Angels singing, heavenly music, peace on earth, ancient splendors, and glad and golden hours.  Its invitation to “rest beside the weary road” challenges us to put aside the hot chocolate and the latest fads we purchase for our children, and reflect on Jesus, our Lord.

What makes this hymn so unique, aside from its content, is that it is uniquely American.  Edmund Sears, a Unitarian minister penned the poem in 1849, with an emphasis on the work that Christmas inspires–not a work that is toilsome, but one that promotes “peace on earth and goodwill toward” others.  This, in opposition to the pain and suffering in a world that is lowly, crushing, and painful.

I cannot endure solemn assemblies with iniquity.  Your new moons and appointed festivals, my soul hates…Learn to do good, seek justice, rescue the oppressed, defend the orphan, plead for the widow” (Isaiah 1:13C-14a; 17).

Oddly enough, Jesus is nowhere mentioned in the hymn.  For me, this reminds me of nativities under our trees that are crowded out and hidden by the hullabaloo of Christmas.  The angels sing just as we sing, but we need to look carefully and find Christ behind the veil of our seasonal traditions.  Christ may not be in the hymn as an explicit Savior, but the hymn affirms that the Savior is present if we slow down and experience the stillness that we only find in that lowly manger.  Then, and only then, will our darkness and midnight of the soul become ever “clear.”

All this talk of stillness, silence, and midnight reminds me of another favorite hymn appropriate for Christmas day: Silent Night, Holy Night.  Among the most popular of Christmas carols, this hymn comes to us from the darkest pinnacles of the Alps, the very geography from whence our traditions of evergreens and Christmas trees arose.

It was there that two clergymen, Joseph Mohr and Francis Gruber, wrote and scored the hymn in 1818.  Silent Night, Holy Night actually came about by accident.  Before service, they found the organ broken, and Father Mohr went for a walk to clear his head.  On the journey, he enjoyed the silence of the evening and wrote the poem that very night.  The next day, Francis Gruber wrote the score with his guitar, and the two men saw it as a gift to the community and the “perfect Christian hymn” for Christmas Mass (Osbeck, 101 Hymn Stories, p. 222).

When the repairman came to repair the pipe organ, he took copies of the music and spread it across Austria in his travels.  An English translation came two years later at the gifted hands of Episcopal priest John Young (Bishop of Florida), and it became an instant Christmas classic.

People who gather at candlelight services and get to sing Silent Night, Holy Night acapella have experienced first-hand the power of this famous carol.  It puts us in the Christmas story, sets us beside the Christ child, encourages us to feel shepherds quaking, and implores us to see that wondrous star that wise men beheld so many centuries ago.  Its repetition of the simple refrain, “Christ the Savior is born” is a truth that echoes through the ages and rings deep in our hearts.  It is a truth that is personal, yet grand, filling all of creation–if not the entire cosmos–with the beauty of Christ’s birth.

The song is not merely reflective; it also demands a response.  In its singing, we are to quake too.  We are to receive Christ’s light and love, to look upon his gleaming face and discover radiant beams of a personal relationship with him.

Our response can be spurned by questions: Will the dawn of God’s grace rise in your heart this season?  Will you finally push aside the busyness and consumerism that plagues your life that you may be filled with God’s love?  Will you come to the manger in silent repose, focusing on Christ, and humbly submitting your life to the Savior born unto us, God with us, Redeemer for us?

Our response can be inspired by shepherds.  In The Stories Behind the Magic, Luke and Trisha Gilkerson write:

The song describes the moment when the shepherds stood before the baby Jesus and all was silent.  They just stood in awe thinking about the angels and staring into the face of the baby Jesus…How could someone so important be so small, so helpless, so sweet? (p. 47)

So the shepherds don’t remain at the manger; rather, they go and tell others about Jesus.  Just as a traveling pipe-organ repairman took Silent Night, Holy Night to churches across Austria, so too does God challenge us to spread the gospel to a land in need.

A Pastor Appreciates the Hymns: Songs of Christmas, Part 1

By Joe LaGuardia

A Pastor Appreciates the Hymns is a series on hymnody and worship in the church.  By incorporating personal testimony and theological reflection, the series draws meaning and strength from sacred songs past and present.

And now, you will conceive in your womb and bear a son, and you will name him Jesus.  He will be great, and will be called the Son of the Most High (Luke 1:31-32a).”

In Advent we long for our Savior to come to us, to be born anew and challenge us during this season of hope.  But who is this Savior, precisely, and what is the shape and nature of this Savior’s character and integrity?

I am often surprised at how many Christmas carols explore the various names that apply to the Messiah of Israel, the Savior of our heart.  Take O Come, O Come Emmanuel, for instance, which calls Jesus by the name given by the prophet Isaiah, “Emmanuel” which means “God with us.”

Depending on the version of the song, it provides a litany of other names for Jesus too: Dayspring, Wisdom, Lord of Might, Rod of Jesse, Key of David, and Desire of Nations.  There is something in each title that reveals Jesus’ character and purpose.

The hymn, penned as a medieval liturgy in the 12th-century, is one of many antiphons that are sung at the beginning of a psalm reading or following the reading of the Magnificat.  Antiphons are known for drawing attention to the titles of Christ and inspiring deeper reflection on who He is as both personal Savior and cosmic Redeemer.

The names for Christ that we sing about in O Come, O Come Emmanuel echo prophecy from Old Testament scripture and affirm that Jesus is the long-awaited messiah, the one whom God sent to “ransom captive Israel.”

According to Magrey DeVega in Songs for the Waiting, the hymn does more than merely name Jesus, it challenges us to name our experience of Jesus.  Who is Jesus to us?  What is the nature of our captivity, and how does Jesus, deeply rooted in all of scripture (and is, according to John 1, the very “Word of God”), bring release and liberation to us?

Another carol that focuses on the names of Christ is Lo, How a Rose E’er Blooming.  Like O Come, O Come Emmanuel, the song affirms that Jesus is David’s offspring, the “root of Jesse” (Isaiah 11:1), and the fulfillment of God’s promise to secure David’s throne forever (2 Samuel 7).  This messiah is a king, but also God’s gift to us: a “rose” that saves us and “lightens every load.”

Jesus is the “rose”, specifically the “rose of Sharon” spoken about in Song of Solomon 2:1.  Although Song of Solomon is a love letter between two partners, Christians have incorporated the poetry as a way to experience Christ’s intimacy with them.

Jesus as a “rose” is our beloved, and the fragrance of his life–his birth, mighty works, ministry, death and resurrection–fills all creation with the sweet aroma of God’s redemption.  As lovers give roses to each other on special occasions, Jesus is God’s rose to us–a symbol of the covenant that God made with us, and “new covenant” that includes the rosy-red blood that Jesus shed on the cross for our sins.

Names mean something: they tell us of a person’s character; they ground us in stability during hardship and tragedy; they name our experience and posit hope in an uncertain world.  The carols and hymns that name Jesus are, for us, a way to remind us who it is that visits us every Christmas.  As the prophet Isaiah puts it:

For a child has been born for us, a son given to us;
Authority rests on his shoulders; and he is named
Wonderful Counselor, Mighty God, Everlasting Father, Prince of Peace…
For the throne of David and his kingdom; he will establish and uphold it forever” (9:6,7).

During this Advent and Christmas season, as you sing of the hope and longing we have in God, who is this Jesus to you, and by what name do you call him?